1. family and parenting
2. children

A Common
Approach
An instrumental /vocal curriculum
Preface
"The arts add quality and challenge to our lives, making us question
and reflect on our thoughts, feelings and values and helping us respect
the views of others. They provide opportunity for us all to explore and
understand different forms of expression, appreciate our diverse cultural
heritage, gain a sense of personal identity and to be creative. Creative
skills and the ability to innovate are increasingly important in responding
to new challenges in the knowledge economy of the future."
from Policy to Partnership: Developing the Arts in Schools
Qualifications and Curriculum Authority / The Arts Council of England
March 2000
A Common Approach breaks new ground. It provides, for the first time, an
instrumental / vocal curriculum drawn together at national level. Building on the experience
and expertise of many teachers, A Common Approach aims to improve the quality of
musical experience for all pupils by encouraging instrumental / vocal teachers to reflect on,
develop and improve their professional skills, knowledge and understanding.
A Common Approach is a ground-breaking initiative, providing for the first time an
instrumental / vocal curriculum drawn together at national level. Building on the experience and
expertise of many teachers, it sets out thoughts on a rationale for instrumental / vocal teaching,
curriculum content and teaching strategies. At a more detailed level, A Common Approach
provides a framework for a broad and balanced curriculum, using it as the basis for teaching
objectives, related activities and for developing long-, medium- and short-term teaching strategies.
A Common Approach is presented in a ring-binder to give teachers the flexibility to insert their own
units of work, individual lesson plans and teaching notes.
Section 1 deals with generic issues, including a rationale for instrumental / vocal teaching,
inclusion, a curriculum framework, assessing, practising, and information and communication
technology. Section 2 uses the framework and thinking of section 1 to develop five long-term
‘family’-specific programmes of study. These contain learning objectives and related musical /
teaching activities for each of the programmes. Next, some examples of units of work illustrate
how the objectives and activities can be brought together in an holistic approach to teaching
and learning. Finally, some summaries of outcomes are provided to help with assessment and
tracking pupils’ progress.
We warmly commend A Common Approach to all instrumental / vocal teachers, Music Services,
Junior Departments of Conservatoires, schools and other organisations involved in the provision of
music education. In particular, we hope that teachers will find A Common Approach stimulating
and thought-provoking and that it will encourage them to reflect on, develop and improve their own
practice. But most importantly, we believe that A Common Approach will be of direct benefit in our
common aim to raise standards of achievement and the quality of young people’s musical
experiences. This is essential reading and a valuable teaching resource.
Please use it!
To offer flexibility, the documentation is provided in a ring-binder. This allows teachers to order
the generic section (section 1) and to add family-specific programmes of study (section 2).
Some teachers may wish to order two programmes of study, e.g. classical and contemporary
guitar, piano and keyboard. Teachers may also want to add their own units of work, individual
lesson plans, teaching notes, thoughts on repertoire, etc. Schools, Music Services and Junior
Departments of Conservatoires, on the other hand, may wish to order the generic section
plus all nine programmes of study and use the documentation as a source of reference.
Colin Brackley Jones, Chairman, Federation of Music Services
George Caird, Chairman, Music Education Council
Richard Hallam, Chairman, National Association of Music Educators
Dame Janet Ritterman, Director, Royal College of Music
As with any curriculum development, this documentation should be viewed as part of an
organic, on-going process. The ring-binder format will facilitate some periodic updating.
© by the Federation of Music Services and the National Association of Music Educators and the Royal College of Music.
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Acknowledgements
•
The Leverhulme Trust for providing a generous grant
•
The Royal College of Music for advice and administrative support
•
Hertfordshire Local Education Authority for granting John Witchell secondment
•
Teachers, Music Services, Conservatoires and Organisations that responded
to the consultative process and gave generously of their time
•
Local Authorities / Music Services that released and enabled staff to attend
meetings and conferences
•
The Steering Group:
Adrian Davies
Val Davies (voice co-ordinator)
Mary Edwards
Andrew Eales (keyboard co-ordinator)
Deputy Director, East Sussex Music Service
Teacher Adviser for Music, East Sussex Music Service
Teacher Adviser for Music, Bristol City Council
Co-ordinator for Keyboard and Piano,
Milton Keynes Music Service
Richard Hallam
Director, Oxfordshire County Music Service /
Chairman, National Association of Music Educators
Peter Hewitt
Director, Junior Department, Royal College of Music
Richard Hickman (project co-ordinator)
Chief Executive, Federation of Music Services
Sue Lawrence (percussion co-ordinator)
Head of Percussion, Oxfordshire County Music Service
Brian Ley
Director, Gloucestershire Music Service /
Vice Chairman, Music Education Council
Nigel Mainard (brass co-ordinator)
Head of Youth and Community Music, Bedfordshire
Dr Fiona Pacey (strings co-ordinator)
Head of Instrumental and Vocal Studies,
Leeds Music Support Service
Mark Ray (piano co-ordinator)
Assistant Head of School of Keyboard Studies,
Royal Northern College of Music
Geoffrey Reed (woodwind co-ordinator)
Head of Sefton Music Support Service
Kevin Rivett (contemporary guitar co-ordinator) Guitar Co-ordinator, Calderdale Music Service
Penny Stirling
Head of Junior Strings Project,
Royal Northern College of Music
John Witchell (project editor)
Director, Hertfordshire County Music Service
Richard Wright (classical guitar co-ordinator) Guitarist and Freelance Teacher
•
All Members of the Working Parties
•
The Consultative Group:
Hilary Brooks
George Caird
Richard Crozier
Louise Gibbs
Dr Sue Hallam
Lucien Jenkins
Lucinda Mackworth-Young
Dr Janet Mills
Gwyn Parry-Jones
Douglas Potts
Dame Janet Ritterman (chair)
John Stephens
•
Administrative Support
Deborah Hooper
Lucinda Moxham
Monica Roberts
Susan Sturrock
Catherine Whalley
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Director of Music, The Pilgrim’s School, Winchester
Principal, Birmingham Conservatoire of Music /
Chairman, Music Education Council
Director, CTABRSM, Associated Board of the
Royal Schools of Music
Research Associate, Royal College of Music
Director of Pathe Course, Institute of Education,
University of London
Editor, Music Teacher Magazine
Consultant for Psychology of Musicians
Research Fellow, Royal College of Music
Director of Music Studies, Bulmershe College,
University of Reading
Music Consultant to the Department for Education and Skills
Director, Royal College of Music /
Chair, Federation of British Conservatoires
Education Consultant, National Foundation for Youth Music
Federation of Music Services
Federation of Music Services
Federation of Music Services
Royal College of Music
Royal College of Music
Section 1
Contents (Section 1)
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Foreword
The Importance of Music
Inclusion: Learning Opportunities for all Children
Commitment
Listening
A Common Approach
– Aims
– Overview
– The Programmes of Study
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The Generic Framework
An Holistic Approach to Teaching and Learning
Continuity and Progression
A Common Approach, first produced in 1998 by Faber Music Ltd on behalf of the
Federation of Music Services and the National Association of Music Educators, provided a
generic framework for an instrumental / vocal curriculum. Drawing on the excellent work of
many Music Services, schools and individual teachers, it aimed to raise the overall quality
of teaching and learning by encouraging teachers to reflect on, develop and improve their
own practice. It also sought to establish greater coherence and consistency in
instrumental / vocal teaching.
Equivalence of Programmes of Study
Group / Individual Lessons
Related Musical / Teaching Activities and Notes
Units of Work
– Introduction
– Notes on Units of Work
– Unit of Work Template
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Foreword
Short-term Planning
This revised and expanded version of A Common Approach takes the process a stage further by
providing ‘family’-specific programmes of study for strings, woodwind, brass, percussion, piano,
keyboard, classical guitar, contemporary guitar and voice*. These programmes of study, based on
an amended version of the original framework, give suggestions in respect of learning objectives
and related musical / teaching activities, both generic and family-specific. In addition, through the
units of work, some thoughts are offered on how the musical / teaching activities can be used
and integrated in an holistic approach. No attempt, however, is made to provide individual lesson
plans. These are the teacher’s responsibility. The documentation, therefore, concentrates on
long and medium-term planning.
– Lesson Plans
– Short-term Planning and Recording Template
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Assessment, Recording and Reporting
– Assessment
– Recording
– Reporting
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Practising
– Introduction
– Relationship to the Programmes of Study
– Practice Routines
– Progression in Practice
Thanks to the generosity of The Leverhulme Trust, the consultative process used to produce this
revised version has been extensive, with many teachers and organisations contributing. In some
areas, thinking has moved on and not coincided with conclusions reached in the original version.
This has contributed to some significant changes. The National Curriculum 2000 and the
establishment of the National Qualifications Framework have also stimulated further thought
and debate.
Besides a steering group, many members of which helped with the original version of A Common
Approach, working parties were established for each family in order to formulate ideas and refine
the feedback from the consultative process. These met for several residential weekend
conferences over a two-year period. A consultative group was also established under the
chairmanship of the Director of the Royal College of Music, in order to draw on a broader range
of expertise and experience.
– Practice Strategies
– Diaries / Notebooks
– The Role of the Teacher
To all those who have contributed to the consultative process and have helped and / or supported
the project in any way, we are enormously grateful.
– Summary
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Lifelong Learning
– Early Years
– Adult Learners
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Information and Communication Technology (Music Technology)
Other Considerations
Richard Hickman Project Co-ordinator
John Witchell Project Editor
– Accommodation, Health and Safety in Schools
– Noise Levels
June 2002
– Professional Conduct, Child Protection, Contracts, Working-time Regulations
* At a later stage, funding permitting, it is hoped to produce some more family-specific programmes of study.
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The importance of music
Inclusion: Learning Opportunities
for all Children
"Music is a powerful, unique form of communication that can change the way
pupils feel, think and act. It brings together intellect and feeling and enables
personal expression, reflection and emotional development. As an integral part of
culture, past and present, it helps pupils understand themselves and relate to
others, forging important links between the home, school and wider world. The
teaching of music develops pupils’ ability to listen and appreciate a wide variety
of music and to make judgements about musical quality. It encourages active
involvement in different forms of amateur music-making, both individual and
communal, developing a sense of group identity and togetherness. It also
increases self-discipline and creativity, aesthetic sensitivity and fulfilment."
All children should have equal opportunities to learn to play a musical instrument and to sing.
from National Curriculum for Music (England) 1999
A Common Approach is designed for all pupils of all abilities, whatever their background and
diverse needs. Activities, of course, need to be selected accordingly. Similarly, lessons need to
have sufficient flexibility to develop suitable activities in the light of pupils’ needs and responses. In
group teaching and ensembles, activities need to be planned for pupils of differing abilities.
A pupil’s motivation is extremely important in deciding which instrument to play. There are few
obstacles that a determined pupil will not overcome. However, care should be taken to ensure that
pupils’ physical development is not put at risk, particularly when teaching young children. Physical
damage may occur at a later stage if there is lack of awareness of potential problems when pupils
start learning.
Instrumental / vocal tuition should be appropriate to the age and development of pupils, and should
always be adapted to individual needs. This may mean:
All children should have the opportunity to sing and to play a musical instrument. Playing and
singing music enables children to explore and experience music from the inside; to express their
ideas and feelings through music; to have the thrill of making and performing music individually and
with others; to develop a sense of personal satisfaction and fulfilment. Playing and singing involves
a unique synthesis of body, mind and spirit, and contributes towards self-discovery.
All children have the opportunity to sing and to play instruments in the classroom as part of their
entitlement within the National Curriculum. It is recognised, however, that for children to acquire
more highly developed instrumental / vocal skills and to have access to a greater breadth of
opportunities (i.e. range of instruments), additional, specialised instrumental / vocal teaching is
necessary, together with ensemble activities as appropriate. As children’s skills develop, so the
quality of their music-making improves, as does their ability to explore a wider range of music.
These additional opportunities can make a significant contribution to children’s level of achievement
and their overall development.
More specifically, learning to play an instrument / to sing helps to develop:
•
enjoyment and understanding of music – a unique form of experience and
‘way of knowing’
•
sensitivity – awareness of the expressive power of music
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aesthetic judgement – personal appreciation and evaluation
•
creative thought and action – imagination, interpretation
•
intellectual skills – spatial thinking, linguistic skills, abstract thought
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cognitive skills – problem solving, independent learning
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social skills – co-operation, communication, leadership, team-work, a sense of
interdependence
•
physical and perceptual skills – co-ordination, speed and accuracy of response
•
personal attributes – self-discipline, self-reliance, concentration, attention to detail,
initiative, commitment
•
cultural awareness – understanding of culture and cultural changes
•
interpersonal and intercultural understanding – a mutual respect for individual and group
achievement
•
recognising pupils’ interest and ability, especially if they cannot always convey it
•
adapting or selecting instruments for pupils with severe physical disabilities,
e.g. providing special supports
•
changing the order of the curriculum
•
adapting repertoire and activities so that they are relevant and attractive to pupils
•
selecting other resources, such as large print, raised notations or ICT
•
building on pupils’ language, social, emotional, cognitive and physical development
Although there are fundamental differences between instrumental / vocal tuition and music therapy,
there may be some areas of overlap. Indeed, some instrumental / vocal teachers may have a
particular interest or training in therapy and may wish to adapt activities for pupils with severe
learning difficulties (SLD) or profound multiple learning difficulties (PMLD). In these circumstances,
the learning objectives and activities outlined in A Common Approach will probably need to be
adapted.
Instrumental / vocal tuition provides a natural extension of opportunities for gifted and talented
pupils. Recognising and nurturing these pupils is an important responsibility. Indicators may include
high levels of commitment, self-motivation, enthusiasm, interest and musical independence.
A Common Approach provides a challenging curriculum, the programmes offering sufficient
flexibility to encourage able pupils to progress quickly and to develop a wide range of skills,
knowledge and understanding.
Sometimes children from minority groups may need positive encouragement to participate in
activities and will often not do so if perceived barriers are placed in their way. For all children,
however, teaching that is predominantly steeped in one tradition may be less attractive than that
which acknowledges the diversity and richness of music. Approaches that recognise and explore
music from different cultures and traditions, including recent popular music, may be of more
immediate interest. The guiding principles, therefore, should be: first, to choose musical repertoire
on the basis of intrinsic value; second, to ensure that there is breadth and balance of styles from
different cultures, times and places.
At present, charges for part or all of the cost of instrumental / vocal tuition are frequently passed on
to parents. It is the intention of the current government to ensure that, over time, all primary-school
pupils in the maintained sector who want to will be able to learn a musical instrument 1. A Common
Approach is predicated on the principle of access for all, regardless of the ability to pay.
Playing and singing can also be therapeutic, offering a sense of spiritual well-being, while playing
and singing with others helps to give communities a sense of identity and cohesion.
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Department for Education and Skills (2001) ‘Schools – Achieving Success’, Government White Paper
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Commitment
A Common Approach
Learning to play an instrument and / or to sing requires effort and persistence. Starting at an early
age, preferably at least two years before secondary school, and allowing pupils to learn
instruments of their choice, helps considerably towards nurturing and developing commitment. An
early start can also help children to reach a self-perceived ‘acceptable level of attainment’ prior to
adolescence and a range of competing interests.
AIMS
In order to encourage continuity and progression, and to help develop and maintain motivation, it is
strongly urged that all pupils should attend two ‘directed’ sessions each week during term-time, all
sessions lasting for a minimum of 30 minutes. Appropriate activities could include, for example:
A Common Approach aims to sustain and build on improvements made to instrumental / vocal
teaching and learning over recent years. In particular, A Common Approach:
•
encourages an holistic approach to teaching and learning
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provides broad and balanced family-specific programmes of study
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suggests learning objectives and related musical / teaching activities
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seeks to strengthen agreed levels and standards of pupil attainment
• an instrumental lesson plus a teacher-supervised practice session
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illustrates how musical / teaching activities can be used and integrated within units of work
• an instrumental lesson plus a band, jazz group or orchestra session
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provides models of:
– long-term planning, e.g. the framework and programmes of study
– medium-term planning, e.g. the units of work
– short-term planning, e.g. the template for individual lessons
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offers guidance on planning and assessment
• two large-group lessons
• a singing lesson plus a choir rehearsal
• a piano lesson plus playing duets / chamber music
Pupils with only one lesson per week have to wait a long time between one lesson and the next!
A second ‘directed’ session each week helps to sustain interest. Members of an ensemble can
also provide each other with a valuable source of support and encouragement. A Common
Approach, as with the original publication, is based on the premise that a broad and balanced
instrumental / vocal curriculum involves both making music individually and with others. Each
activity reinforces the other.
All pupils need support and encouragement. Teachers, parents / carers, schools, community music
centres and other organisations all have their part to play. Other ways of developing pupils’
motivation and commitment include:
OVERVIEW
The framework provides the foundation for each of the five programmes of study (please see
Section 2). These identify what should be taught from beginner to advanced levels. For each
programme, learning objectives are suggested, together with related musical / teaching activities.
Some of the objectives and activities are generic, others are family-specific. Next follow family-specific
units of work. These are included to exemplify how activities can be combined, either over a period
of several weeks, or in order to illustrate a particular approach. In addition, a template for individual
lessons provides a tool for short-term planning. Finally, summaries of learning objectives and
outcomes are included to help with assessing pupils’ attainment and progression.
• enabling them to make music with others
• offering structured learning goals, such as performing in concerts and taking examinations
THE PROGRAMMES OF STUDY
• encouraging them to listen to music, including tapes or CDs of music to be learnt
The five programmes of study provide an aid to long-term planning. They identify the range of
skills, knowledge and understanding that should be included at various stages of learning in an
instrumental / vocal curriculum.
• taking them to hear live music
Four themes recur throughout the five programmes. These underpin the importance of an
integrated approach to teaching and learning. They are:
Listening
expressing ideas and feelings
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using creativity, imagination and intuition
•
developing skills, knowledge and understanding
Listening is fundamental to all musical activity and experience. Pupils need to listen:
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reflecting on and evaluating progress
• in audience to live and recorded music, for pleasure and enjoyment, to understand how
sounds are made, organised and used, and to develop deeper appreciation
These recurring themes inform six interrelated areas of musical experience. They are:
• when playing / singing in order to improve and refine their technical skills, to interpret and
communicate the character of the music
•
listening and internalising
•
making and controlling musical sounds: developing technique
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creating, developing and interpreting musical ideas
•
playing / singing music
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playing / singing music with others
•
performing and communicating
• when improvising and composing in order to make decisions about particular effects
and outcomes in music
It is vital to develop pupils’ listening skills in each of these three areas. Sometimes pupils’ listening
skills are comparatively well developed in performing and in improvising / composing but are less
well developed in reflecting and evaluating. This lack of experience can be addressed by
encouraging pupils, from the earliest stages of learning, to listen to their teacher performing and to
listen to recorded music and live performances. These experiences can provide a stimulus for
practising, improving skills, knowledge and understanding, and motivating pupils to explore new
music for themselves.
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The Generic Framework
An Holistic approach to Teaching
and Learning
Pupils should be offered broad and balanced programmes of study that promote and
develop musical playing and singing.
There are many valid ways of categorising musical experience. The six interrelated areas
identified above, however, should be viewed as a whole and not as hierarchical. The
intention is that together they offer teachers sufficient flexibility to plan interrelated
activities that are true to the intrinsic nature of music. This holistic approach to planning is
central to A Common Approach and is reflected throughout the documentation.
They should be given opportunities to:
express their musical ideas and feelings
use their creativity, imagination and intuition
develop their skills, knowledge and understanding
reflect on and evaluate their progress
through the interrelated areas of:
A. listening and internalising
An example of teaching a piece holistically:
including:
– listening to music with concentration in and out of lessons, building on their experiences
– having a clear aural perception of the music to be played / sung
– recognising and discriminating between the musical elements of pulse, pitch, rhythm,
tempo, dynamics, texture, and tone colour
– recognising and conveying structural elements in their playing / singing
– making links between sound and symbols when using notation
B. making and controlling musical sounds : developing technique
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–
–
–
–
–
–
–
–
including:
including:
working out how to play / sing music by ear
repeating musical patterns and phrases accurately from memory
playing / singing pieces in a variety of styles with fluency, expression and understanding
memorising pieces / songs that have been learnt
reading and playing / singing music at sight*
E. playing / singing music with others
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jointly analyse the piece, i.e. in relation to mood, character, style, structure
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teach the piece to pupils, breaking it into manageable chunks so that a little is learnt at a time
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demonstrate aspects of the piece to pupils, e.g. shaping of phrases, expression marks,
and encourage them to use their aural and reading skills as the piece is absorbed
•
make use of and devise (as necessary) appropriate exercises and scales to help pupils
acquire technical accuracy and control
•
encourage pupils to explore expressive possibilities from the outset
• assess progress and identify achievements and areas for improvements so that pupils
learn to identify what needs attention, how to identify tricky passages and how to make
improvements
– improvising expressively
– applying their instrumental / vocal skills in composing
– interpreting music, developing a personal response
D. playing / singing music
perform the piece to pupils and discuss with them the overall effect
including:
posture and freedom of movement
tone quality and intonation
articulation and co-ordination
breathing, fingering, embouchure and diction, etc.
C. creating, developing and interpreting musical ideas
•
•
set short-term targets for practice at home, structuring the amount of time to cover
technical and musical skills and establish a daily routine for pupils
•
build up pupils’ fluency within a realistic time-frame (according to individual needs)
•
revisit technical and musical problems in lessons and suggest ways in which pupils can
practise independently
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help pupils to refine their musical performance and convey the character of the music
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teach pupils how to improvise / compose a short piece based on ideas from the original piece
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where possible, listen to performances of music in the same genre and discuss
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arrange an informal and / or formal assessment as appropriate, e.g. pupils perform to
teacher or to others in a concert or examination
including:
– listening, watching, responding and leading
– contributing to collective decisions, including interpretation
F. performing and communicating
including:
– interpreting and communicating the character of the music
– evaluating their performances and making improvements
* where appropriate
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Continuity and Progression
Equivalence of Programmes of study
The five programmes of study track the progress of pupils from the beginner stage to the
advanced and provide a tool for long-term planning. Each programme exemplifies a layer of
attainment that builds on and incorporates prior learning. Thus progression is evident in the:
The following table illustrates possible reference points to the National Qualifications Framework,
to graded music examinations and levels of the National Curriculum.
•
•
•
Depth of skills, knowledge and understanding that pupils are able to demonstrate. This is
shown in the demand of the activities, for example by playing / singing more challenging music.
Breadth of the musical activities and repertoire undertaken. This is shown in the range of
learning objectives and activities, for example the variety of cultural styles.
A Common
Approach
National
Qualifications
Framework
Graded
Music
Examinations
National
Curriculum /
GCSE, etc.
Programme 1
Entry
(Pre-grade 1)
(National Curriculum levels 1- 3)
Programme 2
1: Foundation
(Grade 1)
Programme 3
1: Foundation
(Grades 2 - 3)
(GCSE)
Programme 4
2: Intermediate
(Grades 4 - 5)
(GCSE A*- C)
Programme 5
3: Advanced
(Grades 6 - 8)
(A level)
Quality of the outcome. This is shown in the confidence, independence and ownership
demonstrated by the pupils, for example performing with fluency, expression and sensitivity.
The five programmes describe progression in this multidimensional way. They also reflect other
ways in which young people often develop as musicians. In Programme 1, for example, the
expected outcomes feature the pupils’ control of musical materials. In Programme 2, the emphasis
is placed on the increasing awareness of expressive possibilities. By Programme 3, pupils are
more likely to be aware of structural relationships in music and to be able to convey this in their
music-making. At the level of Programme 4, pupils should be able to demonstrate a more
perceptive understanding of musical idioms, for instance in their interpretations. Finally, in
Programme 5, expectations focus on pupils’ ability to invest their music-making with a greater
sense of critical and personal ownership.
These outcomes are only broad indicators of attainment and it may be that some pupils will be
working across several programmes simultaneously. For example, a late starter may be working in
Programme 1, but also playing with expressive sensitivity (a feature of Programme 2) and showing
considerable personal ownership (Programme 5). These differentiated responses should be
expected and planned for so that a pupil’s potential is not underestimated.
Similarly, the programmes are neither time nor age-related. Pupils inevitably progress at different
speeds, depending on such factors as age, previous experience and ability. Indeed, pupils may be
ready to move to a higher programme in some areas but not in others. The framework, however, is
sufficiently flexible to allow teachers to take account of these differentiated outcomes when
planning their lessons and to encourage pupils to move on to the next programme when
appropriate. Flexibility is the key to planning.
Group / individual lessons
Some instruments and / or stages of learning are more suited to group teaching, others are more
suited to individual teaching. The learning objectives and activities given here in the programmes of
study and units of work can be used in both, although some may need to be adapted.
Here are some pupils’ comments on the perceived advantages of both types of lessons:
"I enjoy group lessons. I can learn from the mistakes of others. Also, I find it
helpful to have my playing criticised constructively by my friends. It’s fun
playing quartets in lessons."
"I prefer individual lessons. I get more time and attention. It’s better when
preparing for exams and concerts. It’s also easier to get to know your teacher."
Related Musical / Teaching Activities
and Notes
The suggested related musical / teaching activities are designed to stimulate reflection and to help
teachers match the range of work to the needs of pupils, either in group or individual lessons, the
intention being to complement rather than replace teachers’ successful strategies.
Activities are grouped under one of the six areas so that they are clearly related to learning
objectives. Most activities are relevant to more than one area, just as they could fulfil more than
one objective. In selecting activities, the holistic nature of music should be kept in mind. For
example, an activity under the heading of ‘listening and internalising’, may be equally applicable to
‘performing and communicating’ and / or ‘making and controlling musical sounds’.
Where appropriate, notes have been added to provide further information on the activity. These
may illustrate a particular approach, suggest an extension activity, provide a useful tip or perhaps
clarify a technical point.
The activities relate to each ‘family’, e.g. woodwind, piano. Of course, the list of activities is not
exhaustive. Nevertheless, it is hoped that the suggestions will help teachers as they plan their
activities for lessons and units of work.
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Units of Work
Unit of Work template
PROGRAMME(S)
Title of unit
INTRODUCTION
A unit of work is a medium-term plan, often spanning several weeks 2, which guides a sequence of
lessons. The specimen units provided here show how activities can be drawn together and used
in an holistic approach. The units aim to:
Focus of unit
(a brief description of the unit)
Where the unit fits in
(how it builds on prior learning)
Length
•
illustrate how a sequence of lessons can be devised, drawing on a variety of suitable activities
•
convey the musical context of lessons and the holistic nature of music-making
Learning objectives
Possible teaching activities
Points to note
•
illustrate progression and continuity in relation to the needs of pupils
(based on holistic learning)
•
show how particular aspects of teaching can be structured
(in relation to the programmes
of study)
(e.g. extension activities, practice
differentiation, assessing, illustrations,
teaching hints)
The units provide examples of different approaches for each family. Starting points could be
musical, performing or technical, drawing on appropriate activities within the programmes of study.
Some units relate to a particular programme and time-span, others extend over several
programmes.
Of course, some lessons will probably be independent of units. Nevertheless, it is important to
have a clear idea of what is to be taught in the medium term and also to be able to devise
teaching strategies for particular objectives. It is hoped, therefore, that teachers will find the
template useful in developing their own units of work.
2
Units identify activities and progression over an anticipated medium-term time-scale. This may be of half a term or a
whole term’s duration, or possibly longer.
Notes on Units of Work
1. Each unit should build on pupils’ prior learning and musical experiences. (See box in template.)
2. Learning objectives should be selected in relation to the needs of the learners. They should
outline the steps involved in acquiring and developing the musical skills, knowledge and
understanding within the focus of the unit.
3. Activities should relate to chosen objectives and be based on pupils’ interests. Using the six
strands, they should encompass listening, creating and developing musical ideas, playing,
singing and performing.
4. Activities should facilitate the progress that is anticipated throughout the unit.
5. Expectations should be broad descriptions of what pupils will be able to do by the end of each
unit. Here, they are described in three levels of expectations:
• the expected attainment of all pupils, including those who make relatively slow progress
Repertoire and resources
Expectations: by the end of the unit
all pupils will:
• the expected attainment of the majority of pupils who make average progress
• the expected attainment of those pupils who make quick progress
6. ‘Points to note’ should include details on other important issues, such as teaching, practice,
assessment, self-evaluation, extension and enrichment opportunities.
7. Reference should be made to repertoire and resources. Whilst repertoire is always changing,
examples chosen should have intrinsic value and reflect a breadth of styles and traditions.
Ways of introducing ICT could also be identified in units of work.
16
most pupils will:
some will have progressed further and will:
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17
Short-term Planning
Short-term Planning and Recording template
Name(s) / Group
Term
Targets for the term
Current attainment
Year
LESSON PLANS
The content (objectives and activities) for each lesson should be planned in advance. This is a
critical element of good practice. The lesson template has been designed to facilitate effective and
manageable short-term planning. It provides a tool for teachers to plan from week to week, noting
the response of pupils and identifying objectives and activities for the next lesson. Recognising that
some teachers are often involved with a large number of pupils and have to travel between several
schools in a day, it is advisable to keep records manageable and to ensure that they are updated
frequently. The plan can also be used effectively in conjunction with pupils’ diaries or notebooks,
so that pupils, parents and others are clearly aware of what is to be practised.
Much instrumental / vocal teaching is, of course, of a diagnostic nature and thus requires a flexible
approach. Indeed, the best-aid plans often have to be adapted to meet unexpected circumstances
or responses of pupils. The intuitive teacher will capitalise on changes to the original plan, note the
outcomes and incorporate them into the plan for the next lesson. By keeping brief plans for each
lesson, teachers are better placed to change the direction of the lesson and move into diagnostic
mode. They are also well prepared for the next lesson, without having to check with pupils what
was taught the previous week!
Programme
Date
Objectives and activities
Grade
Lesson outcomes and achievements
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
Record of work (e.g. pieces, studies, scales and exercises, aural, playing / singing at sight, duets / ensembles,
improvisation / composition, performances)
End-of-term summary
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18
19
Assessment, recording and reporting
Practising
ASSESSMENT
INTRODUCTION
Assessment is an integral part of teaching and learning. It is a way of measuring what pupils can
do, know and understand. At an informal level, assessing is the judgement that teachers and
pupils make about the pupil’s work, supported by the teacher’s questioning and discussion. This
on-going ‘formative’ assessment lies at the heart of teaching and learning. It is through formative
assessment that progress is reviewed and teachers and pupils decide what needs to be done
next. Formative assessment is complemented by ‘summative’ assessment. At this formal level,
pupils are assessed by performing to others or by taking examinations. This type of assessment
can be particularly useful for reporting overall progress in skills, knowledge and understanding.
Practice and progress go hand in hand. Research indicates that there is a clear correlation between
the attainment of musicians and the amount of time spent in constructive practice 4. The quality,
duration and regularity of practice are fundamentally important to all young people who make
music, whether formally or informally. Regular and methodical practice reinforces the acquisition of
musical and technical skills, and musical independence. But practice requires creative thinking.
Too often it is regarded as drudgery. However, when pupils are taught how to practise musically,
they can find it rewarding and enjoyable.
Practice also enables pupils to improve broader skills, including:
Musical judgements of a qualitative nature cannot always be captured neatly in marks and grades.
For example, some aspects of performance and interpretation can pose particular assessment
problems. Interpretation is personal to the performer and performance is transitory by nature. In
addition, teachers’ opinions vary 3. The criteria given in the summaries of learning outcomes at the
end of section 2 are designed to help teachers make their judgements as reliable and valid as
possible. But caution should be exercised. Assessing performances by a particular set of criteria
may not necessarily convey the whole picture. Sometimes performances go beyond criteria and
are more than the sum of the individual parts.
•
using their time effectively
•
increasing their independence and ownership of their work
•
setting their own targets and working towards achieving given objectives
•
evaluating their work and progress and suggesting improvements
•
solving problems and focusing on knowing how as well as what to learn
•
developing creative-thinking skills by working imaginatively and reflectively
There are, of course, crucial elements of assessment apart from attainment. Pupils’ effort should
be referred to as well. For instance, the effort of a pupil with less ability can be high, even if the
attainment is relatively low. Likewise, pupils with special educational needs often make worthwhile
progress, even though they may have developed only modest technical skills. When assessing
pupils, teachers should take care to separate attainment and effort, and to formulate additional
criteria as necessary.
In many ways, lessons are a preparation for practice. Teachers work with, and demonstrate to,
their pupils, formulating short-term targets and providing guidance for structuring their practice
during the week. Pupils then develop the ideas and practise them independently. Practice is most
effective if distributed evenly throughout the week: at first in short sessions, perhaps helped by
parents / carers, and then increasing the sessions as pupils develop independent learning skills.
Pupils need to be taught how to practise most effectively. Repetition goes so far but specific
practice strategies are needed in order to develop many of the skills of playing and singing and to
make the most effective use of the available time.
RECORDING
Recording involves gathering and storing pupils’ significant pieces of work. It enables teachers to
track pupils’ progress and forms the basis for reporting and planning. Manageability is a key factor.
Brief assessments can be made and logged at any time but it is advisable to keep them clear and
simple. It is impossible to assess everything at once and probably best to focus on specific areas
of skills, knowledge or understanding. Sometimes pupils gain a clearer idea about what they have
achieved and what needs further attention through making their own independent notes. The use
of audio and video recordings can be useful for this purpose.
REPORTING
The summaries of outcomes at the end of Section 2 identify the level of attainment for the majority
of pupils and are arranged so that teachers can use them to review and assess their pupils’
progress and agree targets for future work. The descriptions can also be used to give feedback,
record attainment and report to parents and schools. It is suggested they are used in conjunction
with other areas of the framework so that a complete picture of pupils’ progress can be formed.
Many Music Services, Junior Departments of Conservatoires, schools and private teachers have
devised their own report forms covering areas of attainment, progress, attendance and effort.
Reports usually identify what pupils can do, know and understand. They may also identify areas for
improvement. When writing reports, clear, concise language free from technical terms is advisable.
Regular reporting keeps parents / carers and schools informed and can provide an early warning
system should any problems arise.
4
HALLAM, S (2001) ‘The development of metacognition in musicians: implications for education’, British Journal
of Music Education, 18,1,37
See also DAVIDSON, J W, HOWE, M J A, and SLOBODA, J A (1997) ‘Environmental factors in the development
of music performance skills’, in The Social Psychology of Music, ed. D J Hargreaves and A C North, pp. 192 - 5.
3
20
DANIEL, R (2001) ‘Self-assessment in performance’, British Journal of Music Education, 18,3, 227
See also HALLAM, S (1998) Instrumental Teaching: a practical guide to better teaching and learning, Heinemann
21
RELATIONSHIP TO THE PROGRAMMES OF STUDY
PRACTICE ROUTINES
Practice strategies may relate to the programmes of study in the following ways:
Practice routines need to take account of individual circumstances. Common features of effective
practice routines include:
listening and internalising
•
identifying the main areas of practice, and what needs attention, beforehand
•
checking timings for different parts of practice and using time effectively
•
using enjoyable and relevant warm-up exercises
•
gaining an overview of whole pieces or movements
•
isolating and practising difficult bars / notes / phrases
•
making, and then integrating, improvements
•
incorporating sufficient repetition
•
attending to expressive, stylistic and interpretative elements
•
revising and reviewing pieces already learnt
•
improvising on related themes
•
creating new music
•
recording a simulated performance, listening and self-evaluating
creating, developing and interpreting musical ideas
•
playing and singing for fun and satisfaction
– improvising on given musical ideas or stimuli
– composing pieces
– experimenting and making interpretative decisions
It is worth remembering that many self -taught musicians develop skills intuitively and
independently, motivated solely by enjoyment and satisfaction. Through trial and error, repetition
and rehearsal, they develop appropriate skills, imitating others, refining their work, imposing their
own discipline and developing personal autonomy, a characteristic that all musicians need.
–
–
–
–
–
developing aural and critical listening
playing / singing by ear familiar tunes
memorising a piece
remembering what was done in lessons when practising pieces
using notational skills when learning new pieces or sections
making and controlling musical sounds: developing technique
–
–
–
–
–
using appropriate warm-up exercises
developing physical strength and stamina
consolidating and extending sound technical habits
repeating technical work to play / sing with increasing fluency
practising technical exercises allied to pieces being learnt
playing / singing music
–
–
–
–
attending to expressive and stylistic features
revisiting pieces already learnt
practising sight-reading new pieces where appropriate
practising individual parts of an ensemble
playing / singing music with others
– checking intonation, e.g. tuning of chords
– improving the ensemble, e.g. rhythmic co-ordination, balance between parts
– discussing interpretative elements
PROGRESSION IN PRACTICE
Pupils develop practice skills as they mature and gain confidence. In supporting pupils’ practice,
it is helpful for teachers and parents / carers to bear in mind ways in which routines may change.
In the early stages of learning, encouragement and support are needed, with an emphasis on
enjoyment. Gradually, however, as practice becomes part of the daily routine, it can be more
orientated towards specific targets. Pupils should also become more independent and make
decisions about their own learning. Older pupils are usually more reflective and self-determined as
they evaluate strengths and weaknesses. Finally, advanced pupils should take responsibility for
their own learning, prioritising their practice in relation to other activities in their lives.
performing and communicating
– refining a piece ready for performance
– practising performing to others
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23
YOUNGER PUPILS
PRACTICE STRATEGIES
DIARIES / NOTEBOOKS
The following table illustrates the development of effective practice strategies, beginning with those
that are generally appropriate for younger pupils, progressing to those that are suitable for older
pupils, including adults.
Diaries or notebooks can provide an effective means of structuring practice. They can be used to
set achievable and realistic targets, communicate with parents and track progression. Their use will
depend on the stage and age of the learner. In the early stages, teachers may wish to complete
them for pupils. Later on, pupils may wish to make their own notes. However, at all stages both
teachers and pupils can use them to evaluate the quality of practice and progress.
• feel relaxed about their practice and are in a quiet and comfortable environment
• know the sounds of what they are going to play / sing
• understand exactly what they are required to practise before leaving the lesson
• practise a variety of short, enjoyable pieces that have elements of repetition built in
• are provided with a model in which technical and musical elements are clearly demonstrated
THE ROLE OF THE TEACHER
The role of the teacher is paramount in ensuring that practice is productive and promotes
independence. The teacher needs to demonstrate how to focus on particular skills and share
successful ways of developing practice routines in detail. Although these may vary depending on
the age and inclinations of individual pupils, it is the teacher’s responsibility to ensure that pupils
are aware of the best ways of practising and that strategies are regularly discussed.
• are given encouragement by teachers, parents / carers
• are encouraged to listen to a wide variety of music
SUMMARY
• begin to take responsibility for their own learning
• begin to set their own targets
• structure the amount of time spent on the different activities and develop a routine that
balances the time spent between the acquisition of technical and musical skills
• develop an overview of what is to be practised
• identify difficulties and break down complex passages into smaller, manageable units
• acquire a range of alternative strategies for practice, e.g. using a metronome, using a backing
tape, analysing problems, varying bowings, articulation or fingering, making up exercises
• develop strategies that help them to learn independently
•
Practice is a vital factor in making musical progress.
•
The amount of time spent practising varies, depending on the stage of learning and the
individual needs of the pupil.
•
Teachers should provide a model for pupils to develop a range of practice strategies.
•
From the outset, teachers should promote independent learning.
•
As pupils progress, they should be given more responsibility for their own learning.
•
Practice is more effective when technical skills are directly related to ‘real’ music.
•
Parents / carers and teachers should encourage and support, but not force their
children to practise.
• monitor their progress towards their targets and try other approaches if progress is unsatisfactory
• prepare independently for performances, making decisions about learning priorities
• make informed choices about interpretation, style and musical preferences
OLDER PUPILS,
INCLUDING ADULTS
24
• effectively organise their practice time in order to fit in with other activities and pressures
on their time
25
Lifelong Learning
EARLY YEARS
ADULT LEARNERS
Music influences the lives of children from the earliest age. Very young babies respond to music.
Evidence suggests that toddlers who enjoy regular singing and movement activities are more likely
to develop higher levels of musical skills later on. The more children listen and attempt to imitate,
the quicker they learn. Of course, it takes time to acquire the skills necessary for playing a musical
instrument, but an early start appears to provide a significant advantage.
A Common Approach primarily focuses on the teaching of children. However, the document can
be used, in large part, to assist with the growing number of adults who are wishing to learn an
instrument and / or sing.
From the age of three, all children in nursery settings follow the curriculum of the Foundation
Stage. By the age of five, most children are expected to ‘recognise and explore how sounds can
be changed; sing simple songs from memory; recognise repeated sound patterns and match
movements to music’ (Early Learning Goals). Pre-school programmes of music activities focus on
creative development, providing opportunities for children to sing, move rhythmically to music and
explore different sounds on instruments. Some specific approaches, such as the Suzuki
programme, successfully introduce instrumental learning at an early age through building on
recognised ways in which young children develop.
Young children are active learners: they relish opportunities to explore and create sounds,
developing musically through repeating activities. Through secure and structured approaches,
effective teachers and practitioners systematically help young children to build on their experiences.
Instrumental / vocal teachers need to be aware of these natural links between learning to play a
musical instrument and early learning.
Adult learners may be attempting to play an instrument and / or to sing for the first time; they
may want to take up an instrument they studied in the past or start singing again. Others may be
self-taught and would like to formalise their learning in order to gain more skills, knowledge and
understanding. Whatever their starting point, it is not unusual to find that adult learners have low
confidence. Sometimes they may fear it is too late for them to start. Teachers can assist adult
pupils to overcome these reservations by trying to raise their self-esteem and by giving them
realistic, positive expectations. Adults can bring many positive attributes to learning, even if their
technical expertise is modest and takes time to develop. These may include strong motivation, a
knowledge of how to work on their own, persistence in adversity, some understanding of musical
styles, an independent initiative which enables research and learning, a wealth of experience and,
above all, a love of music. The challenge for teachers is to build on adult pupils’ diverse qualities
and backgrounds and enable them to move forward, both technically and musically.
In making music with pre-school children, teachers should remember to provide activities that
enable them to develop in and through music. To do this successfully, teachers should:
26
•
use games to help children to ‘find the sound’, explore musical patterns creatively and become
active learners
•
help each child to discover their own singing voice
•
make learning fun, developing children’s curiosity and imagination through purposeful
‘small-world’ play
•
use simple, rich language, conversation and carefully framed questions
•
be patient, friendly and encouraging, adopting an approach that is always positive
•
build on what children already know
•
use ‘stepping stones’ to introduce one new idea at a time
•
take advantage of a child’s delight in repetition to ensure that music and particular techniques
are well learned
•
explore the natural links between music and movement
•
spend time developing listening and aural skills
•
know what children can and cannot do in the early stages of learning
•
integrate parents / carers into lessons as much as possible
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Information and Communication
Technology (Music Technology)
Other considerations
In music, Information and Communication Technology (ICT) can be defined as any process where
electronic technology is used to control, manipulate or communicate musical information. More
specifically, ICT (also referred to as music technology) includes:
ACCOMMODATION, HEALTH AND SAFETY IN SCHOOLS
•
•
•
•
audio playback and recording
electronic keyboards, synthesisers
sound processors
computers and associated software
The health and safety of pupils and teachers should not be taken for granted. The following notes are
provided to ensure that lessons are delivered in a safe environment that is conducive to good learning.
Teaching rooms for group and individual lessons should be acceptable in respect of the terms of
the Children Act 1989 and the Workplace (Health, Safety and Welfare) Regulations 1992.
For instrumental/vocal teachers, the following should be available:
Recent developments in digital technology have opened up a new range of opportunities for using
ICT to support and enhance music learning. These opportunities can be as effective in
instrumental/vocal teaching and learning as in the classroom.
ICT equipment, e.g. tape recorder, minidisc, electronic keyboard, laptop computer, is now
available to process, sequence, record, play back and notate music. Through using these
resources, many teachers are discovering new ways to support their teaching and enhance pupils’
learning. It should be remembered that many pupils have access to this type of equipment in their
homes and are often familiar with the technology involved.
To broaden pupils’ musical experiences, therefore, and to assist with their overall development,
pupils should be encouraged to use ICT, and provided with appropriate opportunities. For example:
•
listening to and evaluating recordings of pieces they are learning
•
listening to and evaluating recordings of their own performances
•
exploring music - using the internet to search for information
•
providing backing tracks for improvising
•
providing accompaniments digitally
•
creating and recording – sequencing and notating music using appropriate software programs
•
storing and revising their work using appropriate media
•
sharing their work with others through the internet
Music technology cannot replace teachers or traditional instruments, nor should it be used as the
only source for musical learning. Nevertheless, used appropriately and sensibly, ICT can integrate
with and support other ways of learning and open up new horizons. ICT can also help to motivate
pupils of all abilities.
•
a room:
– with sufficient space to allow necessary freedom of movement for playing, singing and
teaching properly
– having a door with a window so that teaching can be viewed from the outside (for both the
teacher’s and pupils’ protection)
– with effective heating, lighting and ventilation
– with suitable accoustics
•
chairs and music stands
•
a piano or other keyboard
•
a lockable cupboard for teaching materials
•
a white board
•
recording equipment
•
a full-length mirror
Electrical equipment should be regularly checked and maintained and positioned so as to avoid
trailing leads. (For further information, please see ‘Music Accommodation in Secondary Schools’,
Building Bulletin 86, produced in 1997 by the Architects and Building Branch of the Department for
Education and Employment.)
It is recognised that there may be exceptional circumstances when these are not all available.
However, pupils and parents/carers are entitled to expect that the resources and accommodation
are fit for the purpose.
Teachers need to know the procedures when pupils are absent or taken ill, or in the case of an
emergency, e.g. fire. Teachers should consequently liaise regularly with schools and take issues of
health and safety seriously.
NOISE LEVELS
This is an area of growing concern. It is possible that noise levels in practice and rehearsal rooms
are sufficiently loud to cause hearing loss, pitch distortion, tinnitus or possibly pain. It is important,
therefore, that appropriate control measures are taken in order to reduce levels as much as
possible and to observe the Noise at Work Regulations (2005). These may include:
•
playing more quietly
•
ensuring that loud pieces are balanced by quiet pieces
•
avoiding making sudden and surprising loud noises
•
providing appropriate acoustic cladding for specialist rooms, e.g. percussion rooms
•
supplying suitable and efficient personal ear protectors if requested by a pupil or parent/carer
Schools, Music Services, Conservatoires and teachers may need to receive training in the
estimation of risk and the selection of control measures. Pupils need to be taught the proper
control of noise and volume levels in relation to the acoustic, size of room and the instrument.
Hearing loss cannot be cured.
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29
PROFESSIONAL CONDUCT, CHILD PROTECTION, CONTRACTS, WORKING–TIME
REGULATIONS
The Federation of Music Services has produced a Code of Conduct for instrumental / vocal
teachers. Helpful guidance on these matters is also available in various pamphlets / documents
produced by the Incorporated Society of Musicians.
30
Royal College of Music
Prince Consort Road
London SW7 2BS
Federation of Music Services
7 Courthouse Street, Otley, Leeds,
West Yorkshire LS21 3 AN.
National Association of Music Educators
Gordon Lodge, Snitterton Road
Matlock, Derbyshire DE4 3LZ
tel: 0207 589 3643
fax: 0207 589 7740
tel: 01943 463311
fax: 01943 461188
tel / fax: 01629 760791
email: info@rcm.ac.uk
website: www.rcm.ac.uk
e-mail: fms@musiced.fsnet.co.uk
website: www.federationmusic.org.uk
e-mail: musiceducation@name.org.uk
website: www.name.org.uk